No doubt you have heard the phrase struck by an idea.
But have you ever experienced it?
I have. Twice. What I mean by this is the act of experiencing a new thought with such
force that it feels like a physical blow. It is quite a
sensation.
The most recent time was a couple of years ago. It was a Saturday
night and I was listening to an NPR quiz show called Says You.
The subject of the program is usually words but on this evening the quiz was
apparently about detectives and their arch-enemies (I say apparently because I missed the
beginning). And after Sherlock Holmes
(Professor Moriarty!) and Nero Wolfe (Arnold Zeck!) they came to C.
Auguste Dupin.
That flabbergasted me. Edgar Allan Poe's detective appeared
only in three short stories. Who was his arch-enemy? Could they possibly mean the
orang-outang, the killer in the first-ever detective story, "The Murders in
the Rue Morgue?"
They did (although the panelist guessed gorilla).
I thought this was bizarre. The orang-outang - who never physically
appears in the story, by the way - is just a dumb animal, and to treat it as if it were an evil genius--
Boom. I stumbled, almost falling down. I had just been struck by an idea.
Could I rewrite the story from the ape's viewpoint?
Let's pause for a moment. One of my favorite mystery
writers is James Powell. Jim is a Canadian man with enough
imagination for a whole team of fantasy writers. Who else could have come up with stories that feature:
* An armchair detective who happens to be an armchair.
* A city made up of clowns, one of whom is poisoned by being hit in the face with a poisoned pie.
* Ebenezer Scrooge trying to solve Jacob Marley's murder, because "when
a man's partner gets killed he's supposed to do something about it."
I have always wished I could come up with a plot as brilliantly twisted
as one of Powell's,but never thought I came close. Was this my
chance?
Days later I was still pondering methods to make my version of Poe's story work. I came up with three approaches:
1. Naturalistic. The scent of blood caused the great ape to panic. It backed toward the window, shrieking... No. That would just be retelling Poe's original story. Not what I wanted.
2. Comic. This is the approach I imagined Jim Powell would take: As
I was gliding from oil palm to mangrove tree one sunny afternoon my
arboreal journey
was interrupted by an unexpected sight. A traveler
was wandering through the tangled depths below. Not one of the local humans
who
seem to plod around on the ground without much difficulty,
although, if I may so, they are pathetic at climbing up to the branchy
frontier. I offered a friendly hoot, and slid down a vine with the
alacrity
of one born to the Borneo bush, as indeed I was, and addressed the
fellow...
Okay, Powell would do that much better than me. So, that left Door Number...
3. Steampunk. If you aren't familiar with the term, here is a definition from Wikipedia: a subgenre of science
fiction and sometimes fantasy that incorporates technology and aesthetic
designs inspired by 19th-century industrial steam-powered machinery. Think of the movie Twenty Thousand Leagues Under The Sea, or the TV show The Wild Wild West. Lots of leather, polished steel, steam-powered machinery, and mad scientists.
I
assume Poe's story is set in the 1830s, a bit early for
steampunk, but I was okay with that. My idea was that the
inevitable mad scientist had experimented on Poe's orang-outang,
leaving him able to think and, if not speak, use sign language.
The big challenge would be that nothing in my story could contradict Poe's
- although , of course, it might turn out that one of his characters
was lying.
I wrote the story, which turned out to be a sort of existentialist parable. (It begins: What am I?) While
I was seeking a happy home for my unhappy ape I read that an anthology
of stories inspired by Poe had come up a few thousand words short and
was looking for a few more tales. Sure enough, "Street of the Dead
House" was accepted.
This month sees the publication of nEvermore! Tales of Murder, Mystery and the Macabre
and I am very proud of the company I get to keep. Among my many
stablemates are Margaret Atwood, Richard Christian Matheson, and
Chelsea Quinn Yarbro. Special treat: the book also contains the last story by horror and
fantasy master Tanith Lee, who died this spring.
Distinguished company; I hope my beastie behaves himself.
Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts
01 July 2015
Struck by Poe
31 January 2014
Working Through Writer's Block
by R.T. Lawton
Sooner or later, the dreaded Writer's Block comes to most authors. Sometimes it's because the well has run dry for any number of possible reasons and sometimes it's merely a case of laziness, making excuses or having received a depressing rejection. I won't bother to say which one I'm most afflicted with. However, there are times when I can work through this block to creativity by writing to an outside prompt and letting the mind run free without judgmental repercussions. Knowing full well that these prompt writings are probably never meant to see print.
So, if you don't mind a little silliness, I'll share a resulting sample of said writer's block therapy. This one comes from my Harley riding background and is slightly edited for better readability on your part. The protagonist, named after the slang term for an illegal drinking establishment, is loosely based on a guy I knew, but I honestly don't think he would recognize himself if he read this.
So, if you don't mind a little silliness, I'll share a resulting sample of said writer's block therapy. This one comes from my Harley riding background and is slightly edited for better readability on your part. The protagonist, named after the slang term for an illegal drinking establishment, is loosely based on a guy I knew, but I honestly don't think he would recognize himself if he read this.
TO A MUSE
Having been severely encouraged by his new old lady Patricia to acquire a modicum of culture and perhaps broaden his literary interests at the same time, Blind Pig decided to write his memoirs. He perceived himself as the proper expert for this endeavor, seeing as how he was the only one who understood himself.
With apparent delight, Patricia was heard to exclaim, "Oh Pig, darling. I'm so impressed. It's simply wonderful that you are going to write your autobiography."
The Pig had been so caught up in drafting his pending memoirs that he hadn't even considered the words auto and biography. Ambling off to the kitchen for a beer, he contemplated these two words and decided they wouldn't do at all. In the first place, Pig refused to ride in one of them metal cages called an auto, that was for civilians in the straight life. And in the second place, he figured all them auto biographies must have been written by race car drivers, which obviously left him out. Therefore, being a motorcycle enthusiast, he decided to refer to his memoirs as a motor-cy-ography.
Thus having rendered that momentous decision, he proceeded to gather up his writing materials. Lacking the immediate possession of either computer or an old fashioned typewriter, Pig decided to write in longhand. He promptly located the stub of a carpenter pencil and a dried-up ball point pen bearing the logo of his local bail bond agent. Finding no clean paper to write on, Pig commenced to cut up old brown paper grocery bags that he'd forgotten to throw in the trash years ago. As he labored, Pig thought he had now acquired an insight into the demise of the modern writer, seeing as how most grocery stores had gone from paper to plastic, thus depriving the writer of a convenient source of cheap paper material.
All set to begin with carpenter pencil in hand, the Pig suddenly found himself plagued by Writer's Block, which pleased him immensely because he now knew he was on the road to becoming a real writer, otherwise he wouldn't be blocked. In order to break through this barrier, Pig thought about what other writers talked about at times like these and knew what he had to do. Turning to the Z's in the Yellow Pages, he punched in a phone number and waited for someone to answer.
"Hello. This is the zoo. How may I help you?"
"Do you have one of those Bullwinkle things?"
"Excuse me, sir."
"You know, one of those big brown, grass-eating things from the north woods?"
"Oh, you mean a moose?"
"Yeah, can I borrow one for a while?"
"I'm sorry, sir. We only loan our animals out to other zoos, not private individuals."
"Just for a couple of weeks. I'll take good care of him."
The line went dead.
Incensed at his first rejection as an author, Pig retired to the bedroom and commenced rooting through his closet. In quick order, he extracted his black ninja, steal-at-night clothes, several lengths of rope, his night vision goggles and two pair of old sweat socks. As the sun went down, he loaded all his gear into an old pickup he borrowed from an unsuspecting neighbor. He also threw in a case of Jamaican Red Stripe beer, ten peanut butter and jelly sandwiches and three Moon Pies in case he got hungry during the coming escapade.
Early the next morning, Pig returned to the house where his new old lady Patricia was waiting on the front porch. In the back of the pickup, he had one dazed, bound, gagged and blindfolded moose. With an apparent perception of the problem, Patricia then proceeded to explain to Blind Pig the difference between the large, antlered, herbivore he had kidnapped from the zoo, i.e. a moose, as opposed to the spiritual inspiration for a writer, i.e. a muse.
Undaunted by this minor mistake, Pig asked if he could keep the moose in the backyard for a few days anyway.
The moose, still gagged by the old sweat socks, had nothing to say about the matter.
And there you have it. Turned out I could write something after all. And yes, Blind Pig, over the years, did go on to have several therapeutic adventures which will also not see print. Well, other than the one above.
You're welcome.
Ride easy 'til we meet again.
16 October 2012
Mariel
by David Dean
By the time you read this, my story "Mariel" should be out in the December issue of Ellery Queen Mystery Magazine. At least, I hope so as she, or it (the story), is the subject of my posting. I've written before that I've never found it necessary to make characters up out of whole cloth, as there are such an abundant number of inspirations running around. The character of my recurring clerical sleuth, Father Gregory Savartha, as I once posted during the final days of "Criminal Brief", is based on a wonderful priest with whom I was fortunate to have a friendship. The wise, dignified, and valorous Chief Julian Hall… well, I'm sure there's no need to explain where he was drawn from. But there have been many others… and Mariel is certainly one of them.
I once wrote to Janet Hutchings that I found the suburbs endlessly entertaining and fruitful ground for fiction. This was because she had just accepted a story of mine inspired (ever so loosely) on some neighbors with whom I had never spoken a word. The girl who provided the inspiration for Mariel comes from the same neighborhood, though her contributions to my creative process were more tangible. In fact, for a period of her young life, it seemed as if I was forever being made aware of her presence, either directly or indirectly. She had a way of appearing when you least expected it, and not being one to stand on ceremony, she never waited for an invitation. On more than one occasion, my neighbor two doors away awoke to find her sleeping on the couch in his living room. And he was sure that he had locked his doors. Being only eight years old, it was all rather troubling. It was only later that he deduced she had apparently discovered his emergency key (under a flower pot by the front door--first place burglars look). Clearly, the fact that she rarely spoke was not indicative of her abilities.
His was not the last house she visited during her leisure hours. My immediate neighbor to the north looked up from his computer one day to find her standing in the room with him. He said it scared the bejesus out of him. I should mention that she was not a conventionally attractive child, being quite large and heavy for her age. She also had an unblinking stare that could unnerve even the innocent. You can imagine what it did to the rest of us.
This little girl came from a family in crisis, which appears to be the state of about half the families in America these days. Her parents were involved in a stormy break-up and both had demons of their own to wrestle--they were not winning. She and her two brothers were the only kids in the entire neighborhood that had, during different stages of their development, ridden their bikes into my unmarked police car. Yes...each of them. Parked car...thank God. They were unhurt; the front quarter panel suffered only a little. These events were always timed to occur when I was at dinner and the car plainly in my sight at the curb. I'm convinced that this had somehow become a rite of passage. Oddly, I found the ritual itself pretty funny.
Once, when I was home during the day after a night shift, I witnessed her crossing my neighbor-to-the-south's back yard. He was away at work, as was his wife. Her body language was almost comical in its furtiveness. Just as she approached a shed on his property and began to open the door, I called out her name from behind a curtain, and in my best spectral voice intoned, "You don't belong there." She stepped back from the door as if burned, her Shirley Temple curls bouncing on her head. Surveying her surroundings carefully, she reversed course; returning the way she had come. Her expression was more troubled than frightened, containing a touch of stubbornness– she would be back, it said to me. Did I mention that she "collected" things left untended by her neighbors? "Untended" covered any unlocked door, or unsecured object. In this way she contributed to the security-mindedness of on our little street.
Though I did find a good bit of humor in her antics, it was the pathos of her situation that inspired me to write the story, "Mariel." It's completely fiction, of course. But the real Mariels of the world, sadly, are not. There are far too many feral children these days wandering the streets like wraiths–unsettling and terribly vulnerable.
I once responded to a call of two children found wandering– the little girl was three, and she was towing her year and half old brother along by the hand. When I arrived on the scene I recognized them from dealings with their parents– an alcoholic couple. I called for the youth and family services rep, and after turning them over to the bureaucracy developed to deal with such things, I went to their apartment. I found the father passed out on the couch, reeking of alcohol; the front slider open– the only way the children could have escaped. The mother was at work and we were alone. You might imagine the things that passed through my mind, having three kids of my own. I contemplated the many misfortunes that might befall such a person: He might resist arrest--many before him had done so. Or, he might flee through the closed half of the slider in his drunkenness. He might even fall down the concrete steps leading up to his porch being so unsteady on his feet. I thought a lot of things that could happen that morning… yes, it wasn't even lunch time, yet… but I didn't do them… I resisted temptation. And when I shook him awake all he could do was stare at me in bewilderment and fright. He didn't offer the least resistance and he was arrested "without incident," as cops say. In the end, I felt sorry for him, too; but not as sorry as I was for those kids, and way too many like them.
It's because of situations like that, and many, many more, that I wrote "Mariel," and why so many of my stories feature children dealing with adult situations. It's a tough world out there, and way too often, kids are left to go it alone. It rarely turns out well.
I once wrote to Janet Hutchings that I found the suburbs endlessly entertaining and fruitful ground for fiction. This was because she had just accepted a story of mine inspired (ever so loosely) on some neighbors with whom I had never spoken a word. The girl who provided the inspiration for Mariel comes from the same neighborhood, though her contributions to my creative process were more tangible. In fact, for a period of her young life, it seemed as if I was forever being made aware of her presence, either directly or indirectly. She had a way of appearing when you least expected it, and not being one to stand on ceremony, she never waited for an invitation. On more than one occasion, my neighbor two doors away awoke to find her sleeping on the couch in his living room. And he was sure that he had locked his doors. Being only eight years old, it was all rather troubling. It was only later that he deduced she had apparently discovered his emergency key (under a flower pot by the front door--first place burglars look). Clearly, the fact that she rarely spoke was not indicative of her abilities.
His was not the last house she visited during her leisure hours. My immediate neighbor to the north looked up from his computer one day to find her standing in the room with him. He said it scared the bejesus out of him. I should mention that she was not a conventionally attractive child, being quite large and heavy for her age. She also had an unblinking stare that could unnerve even the innocent. You can imagine what it did to the rest of us.
This little girl came from a family in crisis, which appears to be the state of about half the families in America these days. Her parents were involved in a stormy break-up and both had demons of their own to wrestle--they were not winning. She and her two brothers were the only kids in the entire neighborhood that had, during different stages of their development, ridden their bikes into my unmarked police car. Yes...each of them. Parked car...thank God. They were unhurt; the front quarter panel suffered only a little. These events were always timed to occur when I was at dinner and the car plainly in my sight at the curb. I'm convinced that this had somehow become a rite of passage. Oddly, I found the ritual itself pretty funny.
Once, when I was home during the day after a night shift, I witnessed her crossing my neighbor-to-the-south's back yard. He was away at work, as was his wife. Her body language was almost comical in its furtiveness. Just as she approached a shed on his property and began to open the door, I called out her name from behind a curtain, and in my best spectral voice intoned, "You don't belong there." She stepped back from the door as if burned, her Shirley Temple curls bouncing on her head. Surveying her surroundings carefully, she reversed course; returning the way she had come. Her expression was more troubled than frightened, containing a touch of stubbornness– she would be back, it said to me. Did I mention that she "collected" things left untended by her neighbors? "Untended" covered any unlocked door, or unsecured object. In this way she contributed to the security-mindedness of on our little street.
Though I did find a good bit of humor in her antics, it was the pathos of her situation that inspired me to write the story, "Mariel." It's completely fiction, of course. But the real Mariels of the world, sadly, are not. There are far too many feral children these days wandering the streets like wraiths–unsettling and terribly vulnerable.
I once responded to a call of two children found wandering– the little girl was three, and she was towing her year and half old brother along by the hand. When I arrived on the scene I recognized them from dealings with their parents– an alcoholic couple. I called for the youth and family services rep, and after turning them over to the bureaucracy developed to deal with such things, I went to their apartment. I found the father passed out on the couch, reeking of alcohol; the front slider open– the only way the children could have escaped. The mother was at work and we were alone. You might imagine the things that passed through my mind, having three kids of my own. I contemplated the many misfortunes that might befall such a person: He might resist arrest--many before him had done so. Or, he might flee through the closed half of the slider in his drunkenness. He might even fall down the concrete steps leading up to his porch being so unsteady on his feet. I thought a lot of things that could happen that morning… yes, it wasn't even lunch time, yet… but I didn't do them… I resisted temptation. And when I shook him awake all he could do was stare at me in bewilderment and fright. He didn't offer the least resistance and he was arrested "without incident," as cops say. In the end, I felt sorry for him, too; but not as sorry as I was for those kids, and way too many like them.
It's because of situations like that, and many, many more, that I wrote "Mariel," and why so many of my stories feature children dealing with adult situations. It's a tough world out there, and way too often, kids are left to go it alone. It rarely turns out well.
Labels:
characters,
Ellery Queen,
EQMM,
fiction,
inspiration,
mystery magazine
09 August 2012
Daydream Believers
Yes, I am a daydream believer. (And I dare anyone born in the latter part of the last century not to mentally humming right about now. (Missing your smile and sweet voice, Davy Jones!) But, it's about more than a song's lyrics and melody. Daydreams lead to interesting ideas.
Daydreamers may incite teachers to insist their students stop and pay attention to their instruction, but for most of us, daydreaming transports us to other places and times and relieves many boring moments in our lives.
For a writer, daydreams inspire many stories yet to written.
While night dreams may also lead to plot ideas or characters, for me those sometimes head into darker places. I have written those stories, too, but I appreciate where daydreams take flight. The initial trip to Daydream Land may be innocent enough, but often leads me to an intricate plotline that turns sinister.
Daydreaming has led me to ask What if? Why? and How?
They've led me to wonderful dark thoughts that transpired into Noir storylines. Admittedly, I have an affinity for hardboiled detectives, so those day trips to my imagination brought fun to write short stories where I get to plack (my mother's made-up word when she was a kid that was an abbreviation for "play like") as a hardened private eye chasing down a bad guy that was really bad.
Some of my personal recent daydreams include:
Do you live part time in fantasy land, too? Maybe we'll meet up in a daydream or two! What fun that would be!
Daydreaming has led me to ask What if? Why? and How?
They've led me to wonderful dark thoughts that transpired into Noir storylines. Admittedly, I have an affinity for hardboiled detectives, so those day trips to my imagination brought fun to write short stories where I get to plack (my mother's made-up word when she was a kid that was an abbreviation for "play like") as a hardened private eye chasing down a bad guy that was really bad.
Some of my personal recent daydreams include:
- What if I'd been in a bank where a robbery was about to take place?
- What if I were in that movie theatre in Aurora, Colorado?
- What if I were on a campus that had a sudden lockdown?
- What if I were stuck in an elevator? Which person would I want to be in there with and how long would be to long?
- If I had just one author to read the rest of my life, which would I choose?
- What is worth most: good looks, money or brains? (Thinking Marilyn Monroe, Bill Gates or Einstein)
- If I had to live in cartoon land, what characters would I most enjoy sharing my time?
- If I had my choice of mentors, which would be best suited for me?
- If I could meet with a fictional character for coffee, who would be most interesting?
- What super power would I most like to posess?
Do you live part time in fantasy land, too? Maybe we'll meet up in a daydream or two! What fun that would be!
Labels:
Deborah Elliott-Upton,
detectives,
dreams,
hardboiled,
inspiration
07 November 2011
Ideas R Us
by Jan Grape
Almost every time I talk to a group about writing and get to the Q and A portion, I’m asked, “Where do you get your ideas?”
I have a couple of stock answers which usually get a laugh. One is: “I belong to ‘Ideas of the Month Club’ and they send me ideas once a month.” (I think I stole that from mystery writer, Les Roberts.) The other is: “I just go to “Ideas R Us” and buy one when I need it.” (Am sure I stole that from someone, too.)
My own real answer is: Ideas are in the air, all you have to do is pull one down when you need one.
I wrote two short stories that were inspired by songs. One story was “Scarlett Fever” in the Deadly Allies II anthology and my inspiration (idea) came from a song by Kenny Rogers, titled “Scarlett Fever.” In the song, this guy kept going to a club to watch a dancer named Scarlett and fell in love with her. One night he goes to the club and she’s not there anymore and he’s devastated. My idea was: what happened to this girl? Did she really leave for brighter lights as the club manager says or did something bad happen to her?
My second story is “Deathbed Confession” based on a song by a local Texas writer, Thomas Michael Riley. I can’t really say much about the song without giving away some of the story but it will be published next spring in ACWL Presents: Murder Here, Murder There. This will be the first Jenny Gordon, C.J. Gunn, story in several years and it was nice to find out how the female private investigators were doing. Nice to know that G & G Investigations still is in business. Murder Here, Murder There is the second anthology written by the members of the American Crime Writers League and is co-edited by R. Barry Flowers and myself and published by Twilight Times.
Another story was inspired by a name. A friend of mine, writes a newsy-about-town column in a local weekly newspaper and she writers under the nom de plume of “Ima Snoop.” I thought the name was funny and asked permission to use it in a story called, “The Crimes of Miss Abigail Armstrong.” That story is in the first anthology, from Twilight Times, written by ACWL members and co-edited by R. Barri Flowers and Jan Grape.
My Austin policewoman series was inspired by taking a ten week class, Austin Citizen’s Police Academy training which was offered by the Austin Police Department. In these classes we learned about different departments such as fraud, firearms, robbery homicide, SWAT, etc. After the training was over, I was involved in the alumni association and went out to the academy on numerous occasions to assist in the new cadet training. Training offers set up scenarios using alumni graduates as bad guys and the cadets would have to participate and discover the crime or non-crime committed. Cadets learn how to use their computers, the patrol car’s siren, their walkie-talkies and to quickly access a situation and act accordingly. That was fun because I got to role-play as a bad guy, which soon led to a voice I kept hearing in my head. Fortunately, I began writing Zoe Barrow’s story in Austin City Blue, published in 2000 by Five Star and wasn’t hauled off in a strait-jacket by the guys from the funny farm.
My latest novel, What Doesn’t Kill You, came from seeing a little girl with ears that stuck out like open taxi doors, who was in a bookstore with her grandfather. She wanted to buy a magazine, but gramps said they couldn’t afford it. Somehow that little girl stayed in my mind and eventually became the sixteen year old, Cory Purvis, in that book.
Just yesterday, a friend asked me to do some research on sleepwalking for her. Who knows– I may come up with a character who kills when sleepwalking or so he/she claims.
Today I read a short article in my Sunday newspaper about people selling lollipops which have been licked by children with chickenpox. The buyers are people who don’t want to vaccinate their children but want them to catch the childhood disease. People could go online and look for: 'Find a Pox Party In Your Area' the article said. Cost was $50 a pox-licked lollipop. The sellers are selling these all over the country, sending the candy by mail. Sending diseases and viruses by mail is a federal crime. So some arrest have been made and prosecutors warning parents. Can you imagine giving your child a lollipop, supposedly with chickenpox virus on it? What if it were AIDS virus, or hepatitis? What if it were a more deadly lollipop like Anthrax or something similar? That news article idea sounds like a great plot for a book and I’ll bet we’ll see that used in one very soon.
Newspapers, TV news reports, TV shows, songs, books or stories by other writers, something read on the internet all can give you ideas. So in my humble opinion, ideas are everywhere and all you have to do is pull one down. As a last resort, just go to the mall to IDEAS R US and buy an awesome idea.
I have a couple of stock answers which usually get a laugh. One is: “I belong to ‘Ideas of the Month Club’ and they send me ideas once a month.” (I think I stole that from mystery writer, Les Roberts.) The other is: “I just go to “Ideas R Us” and buy one when I need it.” (Am sure I stole that from someone, too.)
My own real answer is: Ideas are in the air, all you have to do is pull one down when you need one.
I wrote two short stories that were inspired by songs. One story was “Scarlett Fever” in the Deadly Allies II anthology and my inspiration (idea) came from a song by Kenny Rogers, titled “Scarlett Fever.” In the song, this guy kept going to a club to watch a dancer named Scarlett and fell in love with her. One night he goes to the club and she’s not there anymore and he’s devastated. My idea was: what happened to this girl? Did she really leave for brighter lights as the club manager says or did something bad happen to her?
My second story is “Deathbed Confession” based on a song by a local Texas writer, Thomas Michael Riley. I can’t really say much about the song without giving away some of the story but it will be published next spring in ACWL Presents: Murder Here, Murder There. This will be the first Jenny Gordon, C.J. Gunn, story in several years and it was nice to find out how the female private investigators were doing. Nice to know that G & G Investigations still is in business. Murder Here, Murder There is the second anthology written by the members of the American Crime Writers League and is co-edited by R. Barry Flowers and myself and published by Twilight Times.
Another story was inspired by a name. A friend of mine, writes a newsy-about-town column in a local weekly newspaper and she writers under the nom de plume of “Ima Snoop.” I thought the name was funny and asked permission to use it in a story called, “The Crimes of Miss Abigail Armstrong.” That story is in the first anthology, from Twilight Times, written by ACWL members and co-edited by R. Barri Flowers and Jan Grape.
My Austin policewoman series was inspired by taking a ten week class, Austin Citizen’s Police Academy training which was offered by the Austin Police Department. In these classes we learned about different departments such as fraud, firearms, robbery homicide, SWAT, etc. After the training was over, I was involved in the alumni association and went out to the academy on numerous occasions to assist in the new cadet training. Training offers set up scenarios using alumni graduates as bad guys and the cadets would have to participate and discover the crime or non-crime committed. Cadets learn how to use their computers, the patrol car’s siren, their walkie-talkies and to quickly access a situation and act accordingly. That was fun because I got to role-play as a bad guy, which soon led to a voice I kept hearing in my head. Fortunately, I began writing Zoe Barrow’s story in Austin City Blue, published in 2000 by Five Star and wasn’t hauled off in a strait-jacket by the guys from the funny farm.
My latest novel, What Doesn’t Kill You, came from seeing a little girl with ears that stuck out like open taxi doors, who was in a bookstore with her grandfather. She wanted to buy a magazine, but gramps said they couldn’t afford it. Somehow that little girl stayed in my mind and eventually became the sixteen year old, Cory Purvis, in that book.
Just yesterday, a friend asked me to do some research on sleepwalking for her. Who knows– I may come up with a character who kills when sleepwalking or so he/she claims.
Today I read a short article in my Sunday newspaper about people selling lollipops which have been licked by children with chickenpox. The buyers are people who don’t want to vaccinate their children but want them to catch the childhood disease. People could go online and look for: 'Find a Pox Party In Your Area' the article said. Cost was $50 a pox-licked lollipop. The sellers are selling these all over the country, sending the candy by mail. Sending diseases and viruses by mail is a federal crime. So some arrest have been made and prosecutors warning parents. Can you imagine giving your child a lollipop, supposedly with chickenpox virus on it? What if it were AIDS virus, or hepatitis? What if it were a more deadly lollipop like Anthrax or something similar? That news article idea sounds like a great plot for a book and I’ll bet we’ll see that used in one very soon.
Newspapers, TV news reports, TV shows, songs, books or stories by other writers, something read on the internet all can give you ideas. So in my humble opinion, ideas are everywhere and all you have to do is pull one down. As a last resort, just go to the mall to IDEAS R US and buy an awesome idea.
Labels:
ACWL,
American Crime Writers League,
ideas,
inspiration,
Jan Grape,
mystery,
Twilight Times,
writing
Location:
Cottonwood Shores, TX, USA
05 November 2011
“Because I have something to say”
Last time I was up at bat on SleuthSayers, I confessed that I couldn’t write a cozy, although I know authors who do it very well and whose careers are flourishing as a result. Now I’ll add that I doubt I could write a save-the-world thriller, a locked room mystery, or a a forensics procedural. They’re simply not my bag.
I would add serial killers to the list, except that the protagonist of one of my published short stories is a paranormal serial killer. Another story features a revenge killer. Short stories are a grand medium for trying on voices and subgenres beyond the writer’s comfort zone. In fact, I was perfectly comfortable with these two murderous protagonists, probably because both were female. I have no empathy for men who kill. My characters sprang to life out of that mysterious inner place that we sometimes call inspiration, allowing me to explore my own dark side.
When I was a kid, my favorite book was Emily of New Moon, by L.M. Montgomery, the author of the classic Anne of Green Gables. Emily was another little orphan girl on Prince Edward Island, and her burning passion was to write. The urge to write is a phenomenon to which many writers attest. Thanks to Project Gutenberg, I found the line that was imprinted on me at the age of seven or eight and reinforced through many rereadings: “There is a destiny which shapes the ends of young misses who are born with the itch for writing tingling in their baby fingertips.” When I googled “urge to write,” what popped up first was a quotation from writer Anne Bernays, who says this urge is “mysterious and subterranean...the creative floodgates having been released in a torrent.”
In my current later-in-life (“old” always being ten years more than me) career as a writer of fiction, I have heard many writers, published and aspiring, express the same sentiment. They declare that the impulse to tell stories cannot be denied and that they’d go on writing even if they knew their work would never be published. This claim has always baffled me. Sure, I feel the call of the muse. Yes, my characters talk in my head. In a poem (“Night Poem,” in Gifts & Secrets: Poems of the Therapeutic Relationship, New Rivers, 1999), I wrote:
...a line tugs at my mind
and I go stumbling through the hall
groping for light and pen
each time I lie back down
the images pop up like frogs
clamoring to be made princes
and you grumble and roll over
as I shuffle into my slippers once again
and go kiss the page
But if asked, “Why do you write?” I don’t say, “Because I have to.” I say, “Because I have something to say.” For years, I said, “Some day, I’m going to write a mystery titled Death Will Get You Sober.” And when I left my job as director of an alcohol treatment program, I did. Why a mystery? Because I love reading them. Why a character-driven traditional mystery? Because I wanted to make my readers laugh and cry. I was proud as punch when SJ Rozan wrote, “Zelvin’s characters are both over the top and completely believable—just like real people.” But what I wanted to say (with humor and without preachiness) was that recovery itself is transformative and that those who embrace is truly turn their lives around.
My historical series about Diego, a young marrano sailor with Columbus, both confirms and denies that I have to write. Diego came to me in the middle of the night, pounding on the inside of my head and saying, “Let me out! Let me out!” He wouldn’t leave me alone till I went and kissed the page to the extent of making some notes. In the morning, I groaned and said, “I don’t want to write this story. I hate research.” But Diego wouldn’t let me alone until I’d found excerpts from Columbus’s logbook online and learned enough to tell the story (“The Green Cross,” published in EQMM). Diego kept revealing more of his story, so I kept writing about him.
So why this particular event in history? Why this outsider point of view? (The marranos were the secret Jews who converted to avoid the Inquisition and the Jews’ expulsion from Spain in 1492.) The process that produced Diego inside my head was completely unconscious (if not paranormal—both he and his sister Rachel feel completely real to me). I’m Jewish, but if anyone had suggested I write about Jewish themes, I would have said, “That doesn’t interest me.” But evidently I had something to say about being an outsider and, in particular, about being Jewish in a Christian society. And woven into the fabric of Judaism is a concern for social justice, which brought me to the genocide of the Taino, about whom I knew nothing when Diego first came to me.
I would add serial killers to the list, except that the protagonist of one of my published short stories is a paranormal serial killer. Another story features a revenge killer. Short stories are a grand medium for trying on voices and subgenres beyond the writer’s comfort zone. In fact, I was perfectly comfortable with these two murderous protagonists, probably because both were female. I have no empathy for men who kill. My characters sprang to life out of that mysterious inner place that we sometimes call inspiration, allowing me to explore my own dark side.
When I was a kid, my favorite book was Emily of New Moon, by L.M. Montgomery, the author of the classic Anne of Green Gables. Emily was another little orphan girl on Prince Edward Island, and her burning passion was to write. The urge to write is a phenomenon to which many writers attest. Thanks to Project Gutenberg, I found the line that was imprinted on me at the age of seven or eight and reinforced through many rereadings: “There is a destiny which shapes the ends of young misses who are born with the itch for writing tingling in their baby fingertips.” When I googled “urge to write,” what popped up first was a quotation from writer Anne Bernays, who says this urge is “mysterious and subterranean...the creative floodgates having been released in a torrent.”
In my current later-in-life (“old” always being ten years more than me) career as a writer of fiction, I have heard many writers, published and aspiring, express the same sentiment. They declare that the impulse to tell stories cannot be denied and that they’d go on writing even if they knew their work would never be published. This claim has always baffled me. Sure, I feel the call of the muse. Yes, my characters talk in my head. In a poem (“Night Poem,” in Gifts & Secrets: Poems of the Therapeutic Relationship, New Rivers, 1999), I wrote:
...a line tugs at my mind
and I go stumbling through the hall
groping for light and pen
each time I lie back down
the images pop up like frogs
clamoring to be made princes
and you grumble and roll over
as I shuffle into my slippers once again
and go kiss the page
Can't help marching to a different drummer |
My historical series about Diego, a young marrano sailor with Columbus, both confirms and denies that I have to write. Diego came to me in the middle of the night, pounding on the inside of my head and saying, “Let me out! Let me out!” He wouldn’t leave me alone till I went and kissed the page to the extent of making some notes. In the morning, I groaned and said, “I don’t want to write this story. I hate research.” But Diego wouldn’t let me alone until I’d found excerpts from Columbus’s logbook online and learned enough to tell the story (“The Green Cross,” published in EQMM). Diego kept revealing more of his story, so I kept writing about him.
So why this particular event in history? Why this outsider point of view? (The marranos were the secret Jews who converted to avoid the Inquisition and the Jews’ expulsion from Spain in 1492.) The process that produced Diego inside my head was completely unconscious (if not paranormal—both he and his sister Rachel feel completely real to me). I’m Jewish, but if anyone had suggested I write about Jewish themes, I would have said, “That doesn’t interest me.” But evidently I had something to say about being an outsider and, in particular, about being Jewish in a Christian society. And woven into the fabric of Judaism is a concern for social justice, which brought me to the genocide of the Taino, about whom I knew nothing when Diego first came to me.
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